THE BOY

Canada/ China/ US, 2016, 97 minutes, Colour.
Lauren Cowan, Rupert Evans, James Russell, Jim Norton, Diana Hardcastle, Ben Robson.
Directed by William Brent Bell.

The Boy seems a rather innocuous title for this film. One of the central characters is a boy but not quite in the way that we anticipated.

The film opens with a young woman from the United States, Greta (Lauren Cohen) answering an advertisement to look after a young boy at a country estate while his parents go off on a holiday. The location is England but all was filmed in Canada, including the country mansion and its interiors, rooms, staircases, attics, basement… As Greta looks through the house, she sees a portrait of the parents with their young son. She is ready for her task.

But, she is really not prepared, not knowing the truth about the boy – and neither does the audience who share her shock when she is first introduced to him. This makes for an interesting twist – and Greta is introduced to the boy’s routine, his name is Brahms and the lullaby does recur during the film, to his meals, dressing, going to bed, listening to music, reading.

Greta does get a shock when the young man doing grocery deliveries comes to the house (Rupert Evans). He is supportive as Greta tries to cope with the boy after the parents leave. A romantic touch, of course. She is a bit neglectful of Brahms but the boy asserts himself.

Which means that the film is something of a terror story with touches of horror, Greta trying to cope, and trapped at one stage in the attic, trying to decide how she will fulfil all the requirements of her task. her back story also catches up with her with a vengeful boyfriend turning up at the mansion.

Then there is another twist which Greta and the audience had not anticipated which builds up to confrontation, fights, escapes, and some tension.

This review has been written in the spirit of the film – and in such a way as not to reveal any of the twists. Audiences need to discover those for themselves.

1. The blend of horror and terror? The focus on a mysterious doll? Mystery?

2. The title, the boy in the portrait with his parents, his name of Brahms? His appearances the doll? Mysterious behaviour? His final appearance as a person?

3. The setting, the mansion, the grounds? British atmosphere? The interiors of the mansion, staircase, rooms, attic, basement? The musical score?

4. Greta arriving, an American in England, sleeping in the car, arrival, her shoes and their disappearance, looking around the house, hearing sounds? Studying the portraits? Seeing the dolls in the room? The encounter with the parents, her job, the rules and timetables? The story of her past, contact with her sister, the brutality from Cole? The phone calls?

5. Malcolm, scaring Greta, bringing the groceries, knowing Brahms, his playacting and shaking the dolls hand? Winking? Telling Greta the story? Thinking that Brahms was odd? His visits, attraction, in the bedroom, the plan for the night out, his not hearing Greta in the attic, returning, Greta proving to him with the chalk outline that the doll had moved?

6. Greta the parents, their rituals and rules, taking everything seriously? Meals, clothes, going to bed, the language of affection, reading, loud music? Brahms as a doll but treated as a person?

7. Greta alone, careless about the doll? The chair and covering him? Hearing noises, getting trapped in the attic, being let out, the accumulation of fears?

8. Brahms, moving, with the list of rules, Greta and her following the rules?

9. The parents, leaving for the holiday, writing the letter, going into the water and drowning, leaving Greta to Brahms?

10. The story of Cole, his arrival, brutality, treatment of Greta, the clash and fight with Malcolm?

11. The doll, Cole’s anger, smashing it, the attack, his death?

12. The revelation of Brahms as a person, odd, the mask, the adult, his beard under the mask? His manner of speaking? The clash, pursuit of Malcolm and Greta, the fight in the basement, Greta escaping, her decision to return, obeying the rules, stabbing Brahms, his pinning her against
the wall, her stabbing him again, his death? Her going to rescue Malcolm? Their driving to safety?

13. The image of someone rebuilding the doll?

THE WEEPING WILLOW

Iran, 2005, 95 minutes, Colour.
Directed by Majid Majidi.

Majid Majidi is one of the Iranian directors who has a good reputation outside his own country. He has won numerous awards with his films Children of Heaven, Color of Paradise and Baran (all of which won awards from OCIC in 1997, 1999, 2001). His portrayal of children has been memorable.

While there is a child in Weeping Willow, the focus is on a middle-aged man who has been blind since the age of eight. He is a professor, leading a comfortable life, with a devoted wife, a little girl and a loving mother. What if his life were to change? How would he change? What would he change about his life. These are the questions the film asks. These are the questions the film offers some answers which can be both pleasing and disturbing.

SeTtings? are in affluent modern Tehran, with a trip to Paris early in the film. While the film is immersed in its culture, it is accessible to audiences around the world.

The film is beautifully crafted and boasts a superb performance by one of Iran's leading actors, Parviz Parastouie, a restrained performance which has moments of anguished outbursts. This is a complete contrast to his 2004 performance in the delightful comedy, The Lizard, where he is a petty criminal who has the chance to escape from prison in Mullah's dress and (like Whoopi Goldberg in Sister Act) is mistaken for a genuine holy man.

Underlying the film is a deep spiritual dimension and raises issues of prayer and answers to prayer and what we do in our choices with the answers to our prayers.

1. The title, reference, symbol? Luck, accident, blessing, misfortune?

2. The Teheran settings, the affluent suburbs? The streets? The transition to Paris, the hospital? The musical score and its emotion?

3. Majidi and his awards, the technical craft of his films?

4. The opening, the dark, the audience hearing voices only, Maryam and Yusef playing, the stick race, seeing them together, discovering that Yusef was blind? The significance of his voice-over, especially his secret, the revelation, the direct speech – and at the end the specific reference to God? His accident, blessings?

5. Yusef’s life, aged forty-six, his writing in braille, the attentiveness of his wife, his love for his child, his mother? The concern of his uncle? The house and his seeing it as a Paradise? His lecturing, being able to cope?

6. His collapse, the wind blowing the pages around the house and garden? Hospital, his wife and her remembering her first meeting, helping him find his ring? The back-story of his accident, eight, the fireworks? His going to Paris? His uncle and his help? Arrival, the friend, his room, the doctor and the result of the tests? The information about the possibility of recovery? The preparation, the operation?

7. His meeting Mortezza, the friendship, his broken tape after listening to his daughter, Mortezza offering to fix it, their walk, the trees, the search for the willow, the discussions about seeing and not seeing, Mortezza’s story, the shrapnel injury in the war, his gradually going blind? The photo of Yusef at the willow? His helping him?

8. The night, his wanting to take off the bandages, blood from his eyes, his joy in being able to see, the long corridor, his cautious steps, exultation and dance, being discovered by the nurses, back to bed? His going to Iran, the possibility for a new life?

9. On the plane, the arrival, the crowds greeting him, trying to identify his family, his mother not waving and her nodding, seeing his wife and Maryam, seeing Pari, looking at her, the impact? His being silent on his return, his uncle talking, the celebration and the meal, meeting the family and friends? Silent with his wife, the way he looked at her, walking to the house, the key, going inside, sleeping?

10. His being listless, not wanting to go back to the university, his wife persuading him to go to the school for the blind, his seeing the boys carrying the pots, opening the classroom door, their not knowing who was there, remembering his childhood? His wife and daughter and planting the flowers, their growth, his still not doing anything? The coloured pencils and Maryam teaching him? Looking at the photos, the photo of Pari? His being in the train, watching the pickpocket – not doing anything and the thief winking at him?

11. His reflecting on his life, the growing angers, the photo, his wife’s disappointment, her leaving – and visiting his mother and the compassion for the two women? His mother’s visit to him, his rage, throwing everything out, burning everything? The case into the pool – with his manuscript and prayer? His declaration to his mother, wanting a new life, suffering so much without complaint, saying that he deserved a new life?

12. His being alone, looking at Mortezza’s photo, reading his letter, the sudden loss of sight, his anguish?

13. The hospital, his losing his sight, his shouting and his anger, getting out of his uncle’s car, lost in the traffic, in the rain, with the stick and falling down in the mud?

14. Finding himself at home, going to the pool, finding his briefcase – but missing Mortezza’s photo of him? Getting out his document, reading it in braille, his prayer of asking God for the blessing and the possibility of a new life? The appropriate ending of the film at this moment?

15. The spiritual theme of a person with a disability, praying for a new life, getting it, failing? The role of God, blessing and providence?

QUINCEANERA/ ECHO PARK LA.

US, 2006, 90 minutes, Colour.
Emily Rios, Jesse Garcia, J. R. Cruz, David W. Ross, Jason L. Wood.

Directed by Richard Glatzer, Wash Westmoreland.

On the whole, this is a very cheerful film, though not without its sad moments and its wry comments on life.

Quinceanera is a Hispanic custom, celebrated with pomp and relish in Los Angeles, especially in the Echo Park neighbourhood. It is a rite of passage, a coming of age when a girl turns fifteen. The community celebrates it. It is an important and status reinforcing event for the family and the girl. The film opens with a celebration: the formal dresses, the religious rituals, the formal dances, the meal – and then letting hair down with a more modern take on the music and dancing.

It is interesting to see that the families in the film come from the Catholic tradition, with plenty of images and icons, but they belong to an evangelical iglesia, the type of church which proliferates in American cities.

The centre of the film is Magdalena (a vivacious Emily Rios) who is about to have her Quinceanera but her family do not have quite enough money for the expected big splash. Her father is the preacher at the iglesia, a bible reading pastor who soon has to learn that what God wants is mercy not sacrifice. Magdalena is pregnant but claims it is physically impossible. The putative father is also amazed. Magdalena becomes the focus of gossip and disdain, especially from her school friends.

She moves out of home to her great uncle Tomas, a kindly and genial man who has also taken in another outcast, another great nephew, Carlos (Jesse Garcia) who is gay. Carlos and Magdalena relate well and bond because of their outcast status in the tightly-knit community.

The film is often funny, sometimes full of pathos, and always humane rather than judgmental.

1. An enjoyable film? For American audiences? Hispanic audiences? Worldwide?

2. The title, its meaning, the celebration, turning 15? Its place in Hispanic traditions?

3. The Los Angeles settings, Echo Park, the homes, the parks? The extensive celebrations? The musical score and spirit?

4. The work of the directors, their home in Echo Park, the gay theme?

5. The focus on Magdalena, her age, her relationship with Eileen, with the family, with Carlos? Eileen, her celebration? Magdalena’s participation? Family values, moral stances? Carlos and his homosexuality? His being ousted? The preparations for the feast, Eileen and her pregnancy, her relationship with Hermano? Non-sexual conception, later proven by the doctors? Her father’s stances, his rigidity about virginity? Sending her away? His later relaxation with the truth?

6. Uncle Thomas, Carlos and Magdalena going to stay with him, Hermano being sent away?

7. Carlos and his story, gay, the two men, the affair? His finding money for Magdalena, offering to be the surrogate father? James and his ousting Carlos after the relationship with Gary?

8. Having to find new accommodation, the costs, Thomas and dying?

9. Magdalena, her mother, going to the doctor, her still being a virgin?

10. The spirit of the film and the celebration, all the trappings, participation, singing and dancing, food? The transition for Magdalena and her
future life?
text

GUESS WHO

US, 2005, 105 minutes, Colour.
Bernie Mac, Ashton Kutcher, Zoe Saldana, Judith Scott.
Directed by Kevin Rodney Sullivan.

Guess Who’s Coming to Dinner is now something of a classic of the mid 1960s. Audiences watching it now may wonder what all the fuss was about when Katherine Houghton brought her fiancé Sidney Poitier home to meet Spencer Tracy and Katherine Hepburn. Director Stanley Kramer had, almost ten years earlier, defied racial prejudices in the US in the prison escape drama, The Defiant Ones, with Sidney Poitier and Tony Curtis chained to each other. 1963 saw the Civil Rights March on Washington. Integration was moving slowly through many of the states.

So, why a re-make in 2005?

Well, it’s not exactly a re-make. Rather it’s an updated version. What is significant, of course, is that the racial roles are reversed. Zoe Saldana is bringing her fiancée, Ashton Kutcher, to meet Bernie Mac and Judith Scott. This is a comedy intended for the African American audience, a feel-bad at first, feel-good movie that is meant to break through racial stereotypes so that black and white see persons before colour.

The humour is often very broad which has made some white reviewers very self-conscious. The black cast, on the other hand, enter into the spirit of the thing with all kinds of jokes at everyone’s expense, though there is a dinner sequence where white fiancé is urged to tell more and more jokes about blacks, articulating some of the harsh humour which makes everyone both laugh and wince.

A lot of the situations are obviously contrived to make the points. That doesn’t matter unless you are expecting a serious tract on racial equality. It makes its point by highlighting the stupidities in prejudiced attitudes and behaviour. It also highlights how, once people get to know each other as people, colour becomes unimportant.

Bernie Mac is more genial and funny than his usual brash performances. Ashton Kutcher is also more pleasant than usual. No classic like its predecessor but a reminder that racism needs combating at all times and that often ‘laughter is the best medicine’.

1. The title? The original film of 1967 and its themes? This 21st-century variation?

2. The theme of acceptance, the race reversal and playing with this theme, serious, comic? The impact for African- American audiences? White audiences?

3. The introduction to the theme: Percy, Bernie Mac and his comic style, larger than life, presence, at home, success in business, his relationship with Marilyn, 25 years, his trying to write his renewal of vows, the book, the song and Reggie’s advice? His love for Theresa, her prospects? A liberal-minded household?

4. The preparation for the celebration, the planner, his style, tastes, Marilyn describing him as metrosexual, Percy’s idea? His presence, interventions, dresses, the hem on Percy’s trousers? Percy surprised when he turned up at the celebration with the glamorous wife?

5. The introduction to the theme: Simon, Ashton Kutcher and his status on screen and television at this time? At work, his success, principles, clash with the boss, quitting, phoning friends to get a new job? The introduction to Theresa, the audience seeing that she was black? The love between the two, the plans, liberal attitudes?

6. The taxi ride, the observations of the driver, Percy mistaking him, asking Simon to carry the bags, the truth, reactions, recovery? Marilyn and her support?

7. The issue of the truth, open to non-racist attitudes? The secrets, Simon and his talking about NASCAR – and the consequences with Percy knowing the driver, the driving and crashing on the circuit? Percy and his lying to Reggie, about Jamal being an athlete? The consequences?

8. The tensions between the two men, race, Simon and his lies about sport, his job? Going to the hotel, no room? Returning home, the basement, locking the door, the mattress, Percy staying, the jokes about the two at night? Theresa coming to the window – and Simon going out?

9. Percy, the investigation of Simon’s background and discovery trips?

10. The meal, Theresa’s sister arriving? The black jokes, continued, the reactions, tolerance, laughing, the grandfather and his reaction? A joke too far?

11. The truth, Marilyn upset and going away? Theresa, clashing with Simon, also going? The girls’ night and the gossip and support?

12. Simon, his 33 calls? Talking with Percy, helping him with his vows? The bonding between the two?

13. Going to see the women, the apology, Percy and his using Simon’s words? Simon and the decision to go? At the railway station, missing his train, Percy coming and urging him to go back?

14. The reconciliation, the celebration, the renewal of vows, Percy singing, everybody dancing?

15. The humorous outtakes and continuing the story, the comedy and themes?

JUST A KISS

US, 2002, 89 minutes, Colour.
Ron Eldard, Marley Shelton, Marisa Tomei, Kyra Sedgwick, Taye Diggs, Zoe Caldwell, Patrick Breen, Peter Dinklage, Sarita Chowdhury.
Directed by Fisher Stevens.

just a Kiss is a very light romantic comedy, a variation on the Romantic comedy theme whereby characters are introduced, their connection dramatised and progress towards further connections until the audience arrives back at the beginning. In this case, the screenplay begins with a false premise, a what if…? scenario, imagining the consequences of an initial kiss with the realisation at the end that this was not the case.

The film has a very pleasant cast, some at the beginning of their careers, others like Marisa Tomei who had an Oscar by this time. There is an amusing cameo by Peter Dinklage as a dwarf resentful of not getting a role in a commercial.

In many ways, the film has its cake while eating it, dramatising the sexual interactions while revealing at the end that none of this happened…


1. Romantic comedy? For the beginning of the 21st century?

2. The New York settings, apartments, theatre, the streets, restaurants? Brussels and Paris? The musical school?

3. The screenplay, beginning with the kiss, the consequences and the revelation that this is a What if…?

4. Dag, his explanation of his name, the encounter with Rebecca, in Europe, his work as a director, the kiss, the sexual encounter, Rebecca wanting the encounter? The consequences for him when he went home, his relationship with Halley, the restaurant, the revelation of the truth, his try to rectify the situation, apologising to Peter, the encounter with Paula, the later meeting with her?

5. Paula, her job, approach to Dag, later meeting, encounter?

6. Halley, her relationship with Dag, her being upset, the friendship with Peter and Rebecca, the truth, her moving out, Rebecca offering her the apartment, Andre arriving, his relationship with Rebecca, his initial lies, his music, playing the cello, the relationship with Halley?

7. Peter, the actor, the commercials, everybody recognising him as the chicken in the commercials, the attraction, his autograph? At the ballet, the attraction to Rebecca, the comments to her mother, exposing himself with her asking, the invitation to dinner? The relationship with Rebecca? Hearing the truth about Belgium, his being upset?

8. Andre, relationship with Rebecca, cello, with Halley?

9. The cameo from Peter Dinklage before he became well-known?

10. The variety of tangles, the confrontation?

11. The truth, everything back to normal, the encounters with one another, passing Paula in the street, Andre and his playing the cello? All this beginning with just a kiss?

A GOOD YEAR

UK/US, 2006, 117 minutes, Colour.
Russell Crowe, Marion Cotillard, Abbie Cornish, Albert Finney, Didier Bourdon, Freddie Highmore, Rafe Spall, Archie Panjabi, Daniel Mayes, Valeria Tedeschi Bruni, Tom Hollander, Kenneth Cranham.
Directed by Ridley Scott.

This is a rather light drama with touches of comedy and romance. It is not the kind of film where audiences expect to see Russell Crowe. A strong and imposing screen presence, he is usually in heavyweight dramas like Gladiator, Master and Commander and last year’s Cinderella Man.

However, this time he joins with his Gladiator director, Ridley Scott, and tries to interpret his character, Max, in the Cary Grant vein, some serious moments, a pair of glasses, some slapstick pratfalls in a swimming pool, some repartee. It doesn’t quite come off but he does his best very earnestly. (Scott is not the director who immediately comes to mind to direct light romances – but audiences will be glad to know that he and Crowe, along with Denzel Washington, are already filming American Gangster.)

However, the scene is set before the adult Max appears when we see his character as a young boy staying with his Uncle Henry in Provence during the summer holidays. Henry is a genial, rakish man who loves his vineyards and is proud of his wine – and proud of his nephew who seems to be ready to follow in his footsteps.

Cut to the present and the London stock exchange and Max has become a ruthless high flyer, tightly controlling his staff to buy and sell for almost obscene profit at just the right moment. We wonder what has happened to the nice boy of those summer holidays (although we remember that he did cheat at chess and his uncle gave him a parable about telling the truth).

Then comes the news that Henry has died and he must go to France to sort out the will. We are taken aback as we wonder if that is all we will see of the uncle (played with gusto by Albert Finney) and young Max (played with expertise by Freddie Highmore who proved his talent in Finding Neverland and being Charlie in Charlie and the Chocolate Factory). Happily, there are quite a lot of flashbacks.

Meanwhile, back in the present, Max has everything under control and plans to sell off the rundown property with the aid of his lawyer friend (Tom Hollander). While on his mobile phone and driving, he does not realise that he has run a local restaurant owner, Fanny Chenal (Marion Cotillard) off the road. His friends who have managed the winery for decades are anxious to stay on.

One does not have to have the gift of prophecy to anticipate what happens, although there is definitely one unforeseen occurrence. Henry’s American daughter (a vivacious Abbie Cornish), whom nobody knew of suddenly turns up. However, it is following through the predictable that is enjoyable.

In the early 1990s there was a spate of films with the theme, if we take the Gospel’s phrasing, ‘what does it profit to gain the whole world and lose one’s soul?’. There was The Doctor, with William Hurt. There was The Fisher King with Jeff Bridges. There was Regarding Henry with Harrison Ford. These were star vehicles for actor’s portraying professional men (doctors, radio personalities, lawyers) who experienced a personal crisis and realised that they had become over-achieving rats in the rat race. They had to examine their consciences and their way of life.

And so Max starts to remember, to allow the influence of his uncle and of the Provence countryside to permeate his whole being, so that there is nothing else to do but to renounce his ambition and greed, embrace the land – and embrace Fanny Chenal.

1. An entertainment? In Provence? The world of wine and vineyards? Romance? Business in London?

2. Ridley Scott, his career, his cast?

3. Location photography, the wine, the vineyards, homes? The contrast with London, the world of business? The musical score?

4. Max, as a boy, going on holidays, the vineyards, his relationship with his uncle? 25 years later? Working in bonds, trade, dubious ethics?

5. Max inheriting the vineyard, his planning the sale? Encounter with Fanny, knocking her off her bike? Going back to London, the issue of fraud, his suspension?

6. Taking the photos of the vineyard, falling into the pool, Fanny and her revenge, filling the pool with water? Max missing his flight? His suspension?

7. The vineyard, the vines, the estate, Francis and his role in the vineyard, the inspectors, his offering a bribe, to say that the soil was bad? His motivation?

8. Christy, arriving from the United States, backpacking, claiming to be Henry’s daughter? Testing the wine, the quality? Max interviewing Christy?

9. Max, London, his ethics, information from Gemma, the advice? Targeting Kenny, his being fired?

10. Character of Fanny, her place in the town, the encounters with Max, his wooing, the sexual encounter, her expectations – of his leaving?

11. Max examining Henry’s notes, Christy leaving, Max putting the note in her book, her return?

12. The tennis match with Francis? The crisis, Max’s discovery about Henry and Francis using illegal vines? Pushing forward the sale?

13. London, the members of the company, their interactions, business? Sir Nigel? His offer? Max and his dislike of Sir Nigel? His art, the copy with Fanny or the original? Max and his decision about his future?

14. The sale, his forging the documents, his experience in forging his uncle’s signature, the photos, settling up in London, settling in Provence? Christy and Francis managing the vineyard? Max and his future with Fanny?

THE HUNT FOR THE WILDERPEOPLE

New Zealand, 2016, 93 minutes, Colour.
Sam Neill, Julian Denison, Rima Te Wiata, Rachel House, Oscar Kightly, Rhys Darby, Taika Waititi.
Directed by Taika Waititi.

Most audiences will enjoy going on this particular hunt. It is a hunt in the mountain wildernesses of New Zealand – and a young boy and his foster uncle are the Wilderpeople being chased around the mountains for months by child welfare authorities, the police and, eventually, Army personnel, just like wildebeests in Africa.

How did it come to this?

The film opens with child welfare authorities bringing 12 year old Ricky Baker to stay with a foster family. The tough officer, Paula (Rachel House), along with her deadpan sidekick, Andy, explains why Ricky Baker is a wild boy, a very humorous collage of his misbehaving. Ricky does a circle of the house and gets back into the car, only to be told that this is his last chance, otherwise juvenile hall. His foster aunt, Bella, is a most genial and loving woman (Rima Tae we are to) but his uncle, Hec, (Sam Neill) is a pretty gruff old character only putting up with a foster boy for his wife’s sake.

It must be said immediately that Julian Denison is completely believable as Ricky Baker, likeable despite his carry on at times, Denison being able to deliver humorous lines with excellent timing. Audiences who saw Paper Planes in 2015 may well remember him as the hero’s best friend. And Sam Neill, returning to home ground, plays very well off Julian Denison.

Something sad happens at the farm and Ricky really doesn’t want to be with his foster uncle, so makes off into the mountains, getting lost, feeling hungry (he is a rotund young fellow) and finally being found by his uncle. Hec want some time off so they go into the mountains. But authorities think something has gone wrong. There are notices out for their capture, eventually a reward.

When they are found by some hunters, Ricky tries to explain and this gives the film some edge as what he says sounds ambiguous and the hunters and the authorities presume that Hec has perverted designs on the boy. There is a hue and cry in the media – although it gets onside when they help a Ranger who has had a diabetes collapse.

The film is enjoyable as we watch the old man and the young boy working together, becoming friends, the boy learning some wisdom (to counteract his propensity for gangster ideas and talk). At one stage, Hec injures his leg and Ricky finds some people living in the bush, a young girl who talks incessantly but pleasantly and her father who is preoccupied with getting some selfies with Ricky.

There is also a funny funeral preaching scene featuring the director, Taika Waititi, who directed Boy and the vampire parody, What we do in the Shadows.

Despite being away for months and in the winter, they eventually get caught, a climax being Ricky driving a car through the bush, crashing through, making the car leap over a road, eventually smashing into a car junkyard.

The final scenes are not as sweetness and light as we might have expected, but, eventually, Ricky goes to the old people’s home where Hec is learning to read, which he couldn’t in the past, and they find somewhere to stay – and go out into the bush to search for a rare bird that Ricky had glimpsed.

This film should entertain New Zealanders, audiences beyond New Zealand – and those who have discovered that they have New Zealand ancestors like this reviewer!

1. New Zealand story? New Zealand atmosphere, characters, accents? The feel of the country and its people? Locations?

2. The film based on a novel, highlighting the different chapters and epilogue? The director, his career and comic flair?

3. The title, the explanation about the wildebeests? The motif of hunting? The forest, the mountains, lakes and rivers? Winter and the snow?

4. The humane story, child welfare, foster parents, relationships? The grandfather figure, called Uncle, and his relationship with the young boy? The film having an extra edge with the theme of molestation?

5. Julian Denison as Ricky Baker, his appearance, manner of speaking, comic timing? Paula and Andy pursuing him, their explaining him, the humorous collage of all his mischief? Somewhat overweight? Bella and her enthusiasm, his walking around the house, getting back in the car, being ordered out, the threat of juvenile detention? Bella and the welcome, Hec and his being standoffish? Going to the house, the meal, going to bed, the impact of the hot water bottle, running away, only 200 metres? Bella bringing him back for breakfast?

6. Bella and her character, warm, motherly, chatting, the fat jokes, fostering, sharing with Ricky, her love for Hec? Hec wanting to be alone? Happy birthday, the cake and the candles, his only birthday, the gift of the dog? Names – Zag, what about Zig? Tupac?

7. Bella’s collapse, Hector weeping, the shock? The funeral, the comic turn from the director as the Minister, his talking about two doors, confectionery, another door, finding Jesus? Hec’s reaction? The ashes in the box – and Bella’s explaining that she came from the high mountains and wanted to finish there? Maori mythology?

8. The prospect, Hec looking after Ricky, Hec not able to? Ricky and his background of gangsters, Scarface, ideals and language? His decision to burn his clothes and figure, the whole hut burning down? Ricky lost, hungry, seeing the bird? His being found? Hec wandering the bush, his explanation of the knack of how to find their way? The insults, Hec falling, injuring his leg, Ricky helping?

9. Wandering the bush, the dogs, camping, managing? Paula and Andy in pursuit, the military coming in, their armour, helicopters, the search? Posting of the reward?

10. The hut, the hunters, knowing who Hec and Ricky were? Ricky and his explanation about Hec’s behaviour – and the misinterpretation, the men thinking Hec as a pervert? This reputation going around? The reaction, the guns, the fight – and the hunters building up their heroism?

11. The media, the headlines, television, the interviews, the commentators and Ricky and Hec becoming celebrities, helping the Ranger with diabetes, that helping their reputations?

12. Hec, his leg, Ricky walking to find help, the house, the young girl, the talking, singing, the sausage, his going to sleep? Her father and all the selfies?

13. Ricky using his wits, to find Hec, going to higher ground and finding water? The knack? The scenes with the boars?

14. The encounter with Psycho Sam, the man and the bush, his hut, posters, conspiracy theories, helmets against the rays, his not having a basement? Giving them the truck?

15. Ricky driving, reckless, the pursuit, the Army site, the manoeuvres with the car, crashing through the fence, the junkyard?

16. Paula and Andy, their characters, in pursuit? Paula and child welfare and always getting the child? Ricky having the gun, Hec giving up, Ricky referring to him as a molester? The hunter, the shots, Hec being wounded? Andy arresting the hunter? Paula catching Ricky? Hec arrested?

17. Ricky in court, his welfare, the young girl and her father accepting him?

18. The year passing, Hec getting out of prison, his past in prison, not being able to read, his vocabulary like majestical, learning to read in prison? At the old people’s home? Ricky arriving, apologising about molesterer, their welcoming Hec – and he and Ricky going out to find the bird?

THE MEDDLER

US, 2015, 100 minutes, Colour.
Susan Sarandon, Rose Byrne, J. K. Simmons, Michael Mc Kean, Jason Ritter, Laura del Giacomo, Harry Hamlin.
Directed by Lorene Scafaria.

‘Meddler’ is a rather negative word and not quite appropriate to the vibrant character portrayed by Susan Sarandon in this film. Admittedly, she does meddle in her daughter’s life, always ringing, sometimes barging into her apartment, concerned about her relationships, not picking up her daughter’s vibes in terms of leaving her alone – the daughter is played effectively by Rose Byrne.

But, really, Marnie, the 60+ widow played by Susan Sarandon is always ready and willing to help and though she helps those helped do not feel it as if she is meddling in their lives. Her husband Joe has been dead for two years and, beginning humbly, built himself a business and has left his widow very comfortably off. While she does sometimes spend on herself, she seems much happier giving the money to people who need it and not just giving it, becoming part of their lives.

Se is into iPhones and other gadgets and the young man who helps her at the store gets good advice from her about study – and she drives him to classes and back and does a bit of study as backup to help him. She goes to a baby shower and gives the expectant mother an iPad. And she offers to babysit, finding that the mother had a civil ceremony but would like a proper marriage with her ex navel partner, a same-sex marriage, money for her is $13,000, and later buys the wedding dress, rents an expensive yacht as the venue and enjoys doing all of this. She also volunteers at the hospital, finding an old lady who is unable to speak, visiting her, and eventually getting a phone and calling her son who does not know she is in hospital. This is meddling in the best sense.

This is a wonderful part for Susan Sarandon and she brings verve and vitality and complete conviction to her role. For more than 40 years she has been a top-billing star, with roles as different from The Rocky Horror Picture Show to Thelma and Louise to her Oscar-winning portrayal of Sister Helen Prejean in Dead Man Walking.

J. K. Simmons turns up in an amiable role, Zipper, an ex-policeman, who serves as a security guard on a film set that Marnie stumbles onto and get some work an extra. He is a former policeman, who raises chickens, is alienated from one of his daughters (and Marnie, of course, urges him to phone her). There is a very entertaining sequence when Marnie, with some of Zipper’s eggs, makes Toad in the Hole, eagerly cooking as the dance theme from Zorba the Greek plays, and faster and faster as she eats the meal with ever rapid zest and enjoyment.

This is not a film with an intrinsic dynamic, like the action films that Marnie enjoys watching. Rather, it is a series of episodes, many comic, mostly engaging, some with a touch of the serious.

Probably the target audience is grandmothers 60 and over – but, grandmothers are always eager to share their experiences and so we can all go and enjoy The Meddler. (If any readers are familiar with the Enneagram and the Myers Briggs Type Indicator they may be thinking Enneagram 2 and MBTI ESFJ!)

1. The title? Too much of a negative description for the central character? A much more benign and kind woman? Audience response to meddling?

2. Los Angeles and the range of locations, the city, the malls, the Grove, the warm weather…? The contrast with New York City, streets, apartments, television filming set? Comfortable United States, affluent? The world of business and inheritance?

3. Marnie and her meddling, in the shops, the young man and his studies, driving him to class and back, doing some studies to help him, the lift for his brother? The mother, the babysitting, the money for the wedding, hiring the yacht, paying for the dress? Visiting the hospital, the old lady, the phone, her son coming to visit her?

4. Susan Sarandon in the central role, one of her best? Inhabiting the character and bringing her to full life?

5. Marnie’s story, her first love, meeting Joe, marrying after six months, the years of marriage, happiness, having Lori, grief at his death, the issue of his ashes, sad but comfortable? The money, her use of the money, the car, its being stolen, driving Joe’s car? A concern about Lori, Jacob and the relationship? Phoning, the meals, the meetings, the baby shower and the gift of the iPad, enjoying everything, babysitting, the lesbians and paying for the wedding, organising it, lavish, the wedding dress? Wandering onto the film set and enjoying the experience? The encounter with Zipper, talking, driving, the visit, the chickens, her caution about relationship with him, the reaction at the socials with the man from Brooklyn who grew up on the same block? Hitting him? Eating the marijuana to save the brother, out of it and listening to the police stories?

6. Visiting New York, happy, Joe’s family, the table, the stories and reminiscences? Lori and hopes of Ben, talking with him, his showing the ring? Being on the set, Lori’s plot being like the story, Harry Hamlin looking like Joe?

7. Lori, anxious, getting older, her writing, her grief for her absent father, finding her mother trying, the phone calls, her mother barging in, the meal, the drive to the airport? The visit to New York? The pregnancy tests, the humorous situation in buying the ovulation tests? Her not been pregnant?

8. Marnie’s return to Los Angeles, talking about her daughter shooting the pilot at the airport! The issue of the ashes, taking them to the water, her being arrested, the bail, Zipper bailing her out? The gift of the music for the chickens? Meeting again, the kiss, bonding? Her driving into her future?

9. Looking after Lori’s dogs, the grand dogs? Her enjoyment of sharing in other people’s lives? The lavish wedding, the old lady on the phone?

10. Lori, her moods, her mother smothering her, the episodes with Jacob, his girlfriend, still in love with him? The relationship with Ben not followed through?

11. Zipper, his experience, Marnie urging him to ring his daughter? A good man?

12. The student story, the lesbians’ story, the hospital story – all examples of Marnie and her good meddling?

THE ANGRY BIRDS MOVIE

US, 2016, 97 minutes, Colour.
Voices of: Jason Sudeikis, Peter Dinklage, Bill Hader, Keegan- Michael Key, Maya Rudolph, Danny Mc Bride, Josh Gad, Sean Penn, Ike Barinholz, Gillian Bell, Tony Hale.
Directed by Clay Kaytes and Fergall Reilly.

Is it an advantage to know beforehand that this animation film is based on video game? For older reviewers this comes as something of a surprise, not part of their area of expertise. for younger audiences, they probably take it for granted and have been looking forward to a full-length feature film of the game.

It has been said that the production company, Rovio, invested completely in the film and part of their future will depend on the success of Angry Birds – but, on its first weekend in US release, it took $40 million. So, Rovio will still be in business for a sequel!.Its stance amusingly enough with Red, the central avian character, falling while trying to juggle an egg, and exploit that rivals exes mishaps in the Ice Age Films. His destination is, dressed as a clown, a birthday party whether father up breeds him for being so late, not listening to any excuses – and we know whether birthday cake is going to finish up, right on the face of the angry father. Clearly, Red has anger management issues.

Red is ordered to go to classes, teaming up with a spiky little bird, Charlie, and a huge amiable lump of the bird, Bomb. Classes and exercises are not the most helpful.

But, as liberties of the game will know, this is not just a story about birds. It is a story about pigs. And the pigs are the villains. They settled into the birds’town, claiming to be friendly, organising festivities for the unsuspecting birds while actually planning to steal all their eggs so that they can begin to a feast of yolks and whites.

What is an angry bird to do, especially when they destroyed his house? Read channel his aggression positively by organising the building of a boat, leading the pursuit against the pigs and devising a strategy for the birds to into infiltrate the kingdom of the pigs, castle included.

Apparently, a lot of fans were looking forward to catapult scenes, where Red organises a huge catapult which lands the birds in various parts of the town and into the castle. Expected conflict in’s use!

This reviewer watched the film with about 55, six and seven-year-olds but was unable to discern how much the children enjoyed it or not. Perhaps they were intrigued by the antics, with older children enjoying this avian-pull sign struggle between good and evil. And, maybe the adults who are not drawn in by the plotline could enjoy the voices of Jason Siddique assess Red, with Peter Dinklage as the self-regarding former hero, Mighty Eagle, and all kinds of contributions from talent like Danny Mc Bride, Josh Gad, Maya Rudolph, Keegan- Michael Key and, they have to listen hard for it, Sean Penn.

Since anger is limitless, one might presume that Red will be with us again.

1. The title, based on the video game?

2. The style of animation, the birds, the pigs? The locations, bright colours, action sequences?

3. The comic skills of the voice cast?

4. The theme of anger, Red, his outbursts, and assigned to anger management, the aim of anger, its use? His channelling it into the defence of the birds and the recovery of the eggs?

5. Red, as a character, flying, dropping the egg, coming to the party as a clown, the outburst about the cake?

6. His going to the island, his house, the anger management course, Charlie and Bomb, the exercises, the manager of the course and her approach?

7. Charlie as a person, small and agile, Bomb as a person, big and loyal?

8. The arrival of the pigs, the boat, the destruction of Red’s house, the promises to the birds, the festivities, the cover for stealing the eggs? The big hall, getting them on board the ship, sailing away? The preparations in their city, storing the eggs, preparing for a feast of eggs? The characters of the leader, the other pigs, cooks and others in the castle?

9. Character of Mighty Eagle, the statue, reputation, the three climbing the cliff, the disappointment, his silly behaviour?

10. Red, emerging as leader, the support of the group, channelling his aggression, and going to the boat, the building it, sailing, the tactic of the catapult and the variety of birds getting into the city, accidents, some success? Red himself going?

11. The film’s attention to the action sequences, outside the city, into the city, inside the castle?

12. The final heroism, and his self-sacrifice, the final egg and it being hatched?

13. Mighty Eagle, his conscience, justifying his heroism, flying, the attack on the pigs, the rescue and everyone’s admiration?

14. The final statue, Red and his place, the acclamation from all the birds, the happy restoration of all the eggs, the appreciation? The future for Charlie, Bomb and Red?

FIRST MONDAY IN MAY

US , 2016, 90 minutes, Colour.
Andrew Bolton, Anna Wintour, Harry Koda, Baz Lurhman, John Galliano, Jean -Paul Gaultier, Karl Lagerfeld.
Directed by Andrew Rossi.

Maybe it all depends on whether you are a fashion lover or not. If you are, there is no question as to whether you will want to see this film or not. It is chock full of fashion. If fashion passes you by or you have an ideological difficulty about catwalks, models, elaborate clothes which are probably seen and worn only by celebrities, you will probably hesitate.

The reason for the title is that the Metropolitan Museum of Art in New York City has a gala show, dinner and ball on the first Monday in May. This is the background for the first Monday of 2015, something a show to end all shows.

The screenplay invites audiences to think about passion and art at the beginning of the film, showing classic pieces in galleries and suggesting that this is a 19th-century way of looking at art. In the modern world, there are all kinds of different arts which have their place in museums, including fashion. The interviewee explains that there are ideas in fashion, symbols and patterns, let alone all the expertise in craft that goes into the designing and manufacture of clothes. So, with this in mind, we go behind the scenes for this gala event.

There are quite a number of talking heads in the film, including designers John Galliano and Jean-Paul? Gaultier, with Baz Luhrman putting in his two penneth worth. There are also a number of andthe film, he wears trousers which are several centimetres above the ankles and never socks (unless he is sometimes wearing jeans and sneakers). Presumably this is a fashion statement – and on the night itself he wears the short-leg trousers, tails, shoes and, of course, no socks.

The other key character in the film is Vovue editor, Anna Wintour, with mentions of the satiric performance parodying her by Meryl Streep in The Devil Wears Prada. He has had her own documentary with The September Issue, about her work on Vogue. She’s not quite the dragon lady here, but explains herself as decisive. She has a great deal to do, making the decisions, inspecting the designs and layouts, the dresses, and the important diplomacy of places at the tables. There is also the issue of a contract with Rhiana, for her most elaborate dress on the red carpet, her speech and performance during the occasion – as well as her rather large fee.

As we go through the film, the various exhibits from China, especially the dresses, their impact, laid out, quite spectacular in their way.

And, on the night itself, the director, his camera and the audience are taken through all the exhibits by Kate Hudson, an opportunity to sit back, gaze at the extraordinary layouts, exhibits – and glimpse those celebrities and what they are wearing!

It’s one of those “who could ask for anything more!”.

1. The audience for this film? Fashion enthusiasts? The world of glamour and celebrities? A broader audience?

2. The New York Metropolitan Museum? The world of the Museum, its art and visitors? The characters working there, their jobs and responsibilities? The introduction to Alexander Mc Queen, his story, his suicide, the different styles of his creations, the decision to have an exhibition, record-breaking? The decision to have a new exhibition: China: Through the Looking Glass?

3. The preparations for the exhibition, the role of Andrew Bolton, of Anna Wintour, Harold Koda? The Vogue staff, the large African-American? designer? Explanations, seeing them in action?

4. The philosophy of exhibitions, the role of art, moving from 19th-century classic understandings of paintings and sculptures, trends in the 20th century, fashion as art, its ideas, motifs, skills?

5. The range of interviews, especially with designers, John Galliano, Jean- Paul Gaultier, Karl Lagerfeld, Baz Luhrman, and the background of Dior and Yves Saint Laurent?

6. The film demonstrating the logistics, the time, the role of the authorities, decision-making at every level? Anna Wintour and the meetings, the taste, comments about her decisiveness and her own interpretation? Andrew Bolton and his attention to detail in every way? The camera following him around? The scope of the logistics, engineers, designers? Unpacking the exhibits? Technical aspects like lighting? The table plans for the dinner? The contract with Rhianna, her rehearsals?

7. The night itself, Anna Wintour and her daughter and her address, the range of celebrities, the film stars and their being seen? The impact?

8. The exhibits, Kate Hudson and the tour, the visitors and their response? The effect of the tour for the audience and the focus on all the visuals?

9. Speeches, Rhianna and song, the photos?

10. The aftermath with Vogue, looking at the photos, decisions about the issue and the cover?

11. The film immersing its audience in this particular fashion world?